Liam Jones captures the social and economic effect austerity measures are having on young people in Liverpool

Words by Liam Jones

Merseyside Youth Association in Liverpool run a foodbank for young adults aged around 18-25. It does not ask for a red voucher or referral, and is open to all those in need. They offer help and a space free from stigma or judgement. Through this ongoing project I hope to see, hear, and document what is happening to people still at the beginning of their lives.

99 Peace Walls

Josh Adam Jones’ ongoing photo series depicts Belfast, Northern Ireland’s Irish communities

99 Peace Walls is two things; a beginning of an explorative journey of Northern Ireland and a continuation of an earlier project undertaken in Birmingham, which focussed on the Irish community. After spending time in Digbeth documenting the ageing and dwindling Irish population, Josh rounded things off by producing a dummy book. He then decided to turn his attention to the inhabitants of Belfast, and balanced working at the annual Photo Festival 2017 with photographing the start of this new project.

As a foreigner to the country, Josh was provided with an opportunity to observe and witness the city's people, but also to engage as an outsider, which does not necessarily equate to being distant. He was met with an apparent social, religious and political divide among the people of East and West Belfast, but did not aim to obviously portray this within his photographs. However, the politics of the city clearly had an effect, whether subconsciously or not. The Union Jack colour scheme is sprinkled throughout the series; the tracksuit top of the girl with hooped earrings, the bunting strung across the garden and even the 'PAW Patrol' toy car parked outside the West Peace Wall.

These photographs were all taken within a two week time frame in both ends of the city. This work is ongoing. Josh hopes to revisit Belfast, explore other parts of Northern Ireland and possibly venture into the Republic of Ireland too.


Photographer, Matthew Eynon captures the Mods of Swansea

Words by Matthew Eynon

I'm a South Wales based geologist and some-time photographer. My general interests involve photographing people and society/subculture, focussed towards street/documentary photography and evolving this into photo-essays. This series of images is part of a documentary project on the Swansea Mods through candid and portrait work.

There is an established and growing mod scene in Swansea which has strong links to ska and skinhead culture. It’s argued that the definition of mod can be difficult to pin down, because "throughout the subculture's original era, it was prone to continuous reinvention. The word mod was an umbrella term that covered several distinct sub-scenes and is difficult to define because the subculture started out as a 'mysterious semi-secret world', which the Who’s manager summarised as clean living under difficult circumstances”.

The Swansea Mods are a vibrant, stylish and friendly bunch of women and men from all backgrounds; the social scene involves meets, ride-outs, gigs and weekenders.

Shelbourne Park

A film and photo-series by Paul Wheatley captures Shelbourne Park – Dublin’s last remaining Greyhound stadium

Located in the docklands area of Dublin City lies Shelbourne Park Greyhound Stadium. The stadium hosted its first race back in May 14th 1927, making it a historic venue in the story of Irish greyhound racing.

With the closure of Harold's Cross Stadium in February 2017, Shelbourne Park stands as the last remaining Greyhound stadium in Dublin.

As a publisher and Community Interest Company, TRIP is dedicated to showcasing unconventional stories that may otherwise be overlooked. We aim to give a platform to the unseen and a microphone to the ignored. Expression is a right and should not be confined to those that can afford to work for free; which is why we strive to support a diverse range of creatives in their work, commissioning exciting projects and creatives to visualize them.

Founded as a magazine in 2013 by photographer, Dean Davies, TRIP was born from a desire to provide opportunity and exposure for image-makers across multiple platforms and medias. With a focus on people and place, in 5 years TRIP gained a loyal readership, and became known for its honest image output and representation of the underrepresented, featuring over 800 image-makers from across the world through a website, 5 magazines and 3 free zines.

As TRIP C.I.C. we are not interested in profiting from the activities of the organization, and re-invest all income back in to consecutive publishing projects.

Dean Davies
Alfie Allen

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